1.Suzanne Westbrook 2.Jesus of Nazareth 3.Julian the Apostate 4.Robbie George 5.Stefan McDaniel 6.Martin Heidegger 7.Mammon, God of Wealth 8.Paul of Tarsus 9.Sara Viola 10.John Maynard Keynes 11.Hannah Arendt 12.Will ‘The Scharf’s Scharf’ Scharf 13.Karl Marx 14.Harold Graham Parker III / … Read More
‘Reading,’ as describing a certain activity of eye-sliding-over-page, with eye recognizing ink blobs corresponding (by means of whatever neural calculus) either (1) to something like second-order phonemes, and therefore to certain aural centers and therefore to speech-parts of the brain, which ‘articulate’ meaning to other parts, or (2) to something like second-order morphemes, and therefore to certain visual centers, and therefore to picture-parts of the brains, which ‘project’ meanings to other parts, or (3) to some combination of (1) and (2)[1]—well, ignore that or bracket it, because I have 1,000 words and a little over, say, ten minutes to argue for long and arduous works of literature, their import and glory—and, specifically, for the particularly long and particularly arduous recent novels of Roberto Bolaño and David Foster Wallace.
We here at The Nassau Weekly love to hate the The Prince. Yet as the events surrounding the Printsanything scandal unfolded, we found that even our cold hearts were moved to sympathy. Sure, the Gaily Printsanything made us all shudder … Read More
Between Fort Lauderdale and Miami lies the mid-size city of Hollywood, Florida, population 138,412. It’s an unassuming beach-front place in the regional mode. Encompassed are ten or so diners, several miles of coastline, several miles more of T-shirt and puka-shell … Read More
Schmitz’s real purpose is to marginalize 185 Nassau and a group of people who create. And how better to do this than to reduce all their striving to a simple exercise in what Edward Said terms “refinement”—the long, steady, reactionary march toward sameness, marked by a constant re-reading and emulating of a constricted Western canon. Anyone can write a villanelle in a vacuum, but the teaching of creativity, the encouragement of a fresh perspective—these demand an understanding of the physical world and of the writer’s particular circumstances.
